Tag: The Sundays

After digging out that Foo Fighters acoustic album I featured in the last post, I found myself thinking of this, a tune that featured in The Chain quite some time ago, so the link’s probably dead by now.

So, I make no apologies for re-posting this, the opening track from one of my favourite albums. See, it’s a gorgeous song from a gorgeous album, which is just about perfect for rounding off the weekend. Certainly better than watching Ed Sheeran, anyway.

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We ended up last week with me inviting suggestions for songs which link to The Jimi Hendrix Experience’s “Voodoo Chile [Slight Return]”, which is lifted from their “Electric Ladyland” album, whilst also making a rather bold prediction:

“I’m willing to bet I know which artist Charity Chic will suggest.”

So over to you, CC:

“If you are thinking Wall of Voodoo, they only had one decent song which I suggested last week which could be winner if it didn’t take you back to the radio theme.”

Errrr, no. That wasn’t who I was thinking of. However, that did prompt Dirk from Sexyloser to suggest the following:

“Wall Of Voodoo’s “Dance You F***ers*” was okay as well, if I remember correctly”

“Chile used to be ruled by a tin-pot fascist dictator called General Pinochet. When he took I’ll he came to the UK where our very own tin-pot fascist dictator Margaret Thatcher gave him bed and board at the countries expense. Thereafter the normally spineless Jack Straw the then Home Secretary deported him. I wrote to congratulate him but never got the courtesy of a reply.

You see, the other week, having successfully suggested a link to a Kirsty MacColl record for the second week running, and aware of our mutual adoration of her work, CC announced that he would attempt to link to something by her at every opportunity.

I’m reminded of QI, and the number of times Alan Davies has proffered “a blue whale” as an answer, and got it wrong, but then when it is the answer, manages to miss it. Like this:

Now. Before we go any further, I need to just clear a little something up. And having popped the tissues away, now I need to clarify something.

The reason we are linking to The Jimi Hendrix Experience’s “Voodoo Chile [Slight Return]” is that it was the next record in the official BBC Chain, following on from Joni Mitchell’s “You Turn Me On I’m a Radio”, and the official link between the two was given as “…Mitch Mitchell played bass in the Jimi Hendrix Experience…”. Needless to say this raised a few eyebrows, by The Swede (“That’ll be news to Noel Redding’s estate”) and Alex G (“What a disappointing official connection. I expect better than that for £145.50 a year.”)

So let’s just check with the bible of all accurate data: Wikipedia, which lists Mitch Mitchell’s credits as ‘backing vocals, drums (except on “Rainy Day Dream Away” and “Still Raining, Still Dreaming”), percussion, lead vocals on “Little Miss Strange”‘ and Noel Redding’s as ‘backing vocals, bass on “Crosstown Traffic”, “Little Miss Strange”, “Come On (Let the Good Times Roll)”, “Burning of the Midnight Lamp”, and “Voodoo Child (Slight Return)”, acoustic guitar and lead vocals on “Little Miss Strange”‘

So perhaps we should have a couple of Noel Redding related tunes before we go any further.

There is a town just outside London which hosts an annual music festival over the August Bank Holiday Weekend. That town is Reading, but it’s pronounced the same way as Noel’s surname. The other way to pronounce it is, of course, in the same way as in the phrase “Reading, Writing And Arithmetic”, which just so happens to be the title of the debut album by The Sundays. Here’s the opening track:

Similarly, here’s George, with both of his suggestions linking to the unappreciated multi-instrumentalist:

“Noel Redding the bass player/drummer, could also play the mandolin, and so could Ira Lonnie Loudermilk, better known as Ira Louvin, one half the toptastic Louvin Brothers. (He was also the heavy drinking much married and alleged wife-beater who was once shot by one of wives). And one of the Louvin Brothers’ song is The Angels Rejoiced Last Night, which has one of the finest examples of lyrics in country music you’ll ever hear.”

I have two things to say about that. Firstly, I always thought Roy Orbison was ‘The Big O’? Secondly, George adds: “I played this to some of my classes when I was working.” So what on earth was your teaching style like if you had to play the pupils a record imploring them not leave?

“I also played them the occasional track by Gong,” George adds, like that makes it perfectly acceptable. Although maybe in an alternative to classroom bell context, a “That Gong’s not for you, it’s for me” kinda way, I guess it might work.

But I digress. Where were we. Oh yes, Chile. CC was not the only person to go down the “Chile” route. Here’s The Robster from Is This The Life?

“I also couldn’t get Chile out of my head, in this case the country – ‘Chile Your Waters Run Red Through Soweto’. While the Billy Bragg version is best known, for me you can’t beat Sweet Honey In The Rock’s take which is just wonderful.”

“Back in my mid-80s student radio days, I had a stand-in co-presenter for the mammoth 4-hour Saturday Sportswatch (not my choice of title). I set the Hendrix track off and as it finished I was busy scribbling info off Ceefax for an upcoming link. Said co-presenter then back-announced the track, pronouncing Chile as one would the South American country which is spelt that way. Cue much mirth around the studio where music snobbery was positively encouraged.

Anyway…I’m obviously now in South American county mode, so I offer ‘Ecuador’ by Sash!…”

Before we move on to the most popular links, one which received two nominations this week, firstly from Rol (“The other obvious suggestion is ‘Slight Return’, the Bluetones’ biggest hit. But you can have that one for free.”) – CC: did you notice that’s the second time he’s said “obvious choice”? He may as well have said blue whale – but also from The Beard (“Alternatively, ‘Slight Return’ by The Bluetones”), which, to be fair, looks a little bit odd when taken out of context i.e. immediately after his other suggestions, which we’ll come to in a bit.

Now, a Public Service Announcement. I have had to disqualify three suggestions this week, because I don’t think the suggested link is correct. I’m talking about these:

“Jimi’s guitar solo from, oh I forget but not Voodoo Chile, was recycled in BAD’s C’mon Every Beat Box and then later Right Said Fred (Deeply Dippy I think). Which was then covered on the Heavenly Fred EP by the Rockingbirds. One of whom plays guitar for Edwyn Collins.”

I had the BAD track all lined up and ready to go, listened to it to make sure it sounded okay, and realised after it finished that I hadn’t noticed any Hendrix-guitar in there. So I listened again. And again. And again. And again. Nope. So I had a little look on-line, and stumbled across this page which explains all of the samples, source materials and references on BAD’s “No 10 Upping Street” album, from which “C’mon Every Beat Box” is lifted. No mention of Mr Hendrix at all there, nor on several other places I checked.

Now, don’t get me wrong, I would love to post all of them, not least The Rockingbirds version of Deeply Dippy, but as far as I can see, these suggestions fall at the first hurdle. So sorry, but in the absence of any link, I can’t play any of those tunes.

Ok, so there were two other means of linking to our source record this week which attracted mucho attentioni (those online Italian lessons weren’t wasted on me, right?), and so I’ll hand you back over to Dirk for a moment:

“Now, there are quite a lot of really good bands called “The Something Something Experience”, such as The Colorblind James Experience, The Iowa City Beef Experience, The Jean Paul Sartre Experience, The Joyce McKinney Experience, The Mr. T Experience, The Tony Head Experience plus, I’m sure, a few others which I can’t think of currently. ‘Lift To Experience’ spring to mind as well, but they don’t count in my Mr. Monk–world.

Also we have The Sid Presley Experience and the B-Side of their 1984 7″ ‘Hup 2-3-4’ is rather splendid, so it shall be my link for this week, please: ‘Public Enemy Number One’.”

And here’s another one of those ‘The Something Something Experience’ bands, suggested by Yours Truly, although strictly speaking they’re a the ‘Something Something Something Experience’ band: a band with a truly magnificent name, but who’s music sadly doesn’t quite fulfill expectations, unless you’re expecting some fey C86-esque indie jingly-jangly guitars, in which case, fill your boots:

But by far and away the most popular link this week was to Voodoo. There was a great song by Vic and Bob from their “The Smell of Reeves & Mortimer” series called, I think, “Do You Do Voodoo?” which I was hoping to link to now, but can I find it? Can I heck as like.

So, let’s start off with a welcome return for Marie, who suggests this:

“As soon as I saw the word “Voodoo” (with Halloween being just around the corner an’ all), I knew that I had to suggest this song: Charles Sheffield’s ‘It’s Your Voodoo Working'”

I wish I could say I’d planned this week’s post to land a couple of days before Halloween, but honestly, I never look at what the next link in the Chain is until I come to write this, so I can’t claim to be that organised.

“‘Voodoo Chile’ was part of the Hendrix medley released as a free record with Soft Cell’s most accomplished album, The Art of Falling Apart. The other side of that record was a song based on George A Romero’s film about a boy who believes himself to be a vampire. So I’m suggesting that one, ‘Martin’, by Soft Cell.”

“But,” continues SWC, “his version is not the best for that you need to go to Acid Brass version.”

For the uninitiated, “Acid Brass” is an album of acid house choons covered by a brass band. The Williams Fairey Brass Band, to be precise. Don’t let that put you off though, this is, as SWC alludes, brilliant:

I said three versions, right? Right. Here’s Swiss Adam from Bagging Area:

“Voodoo Ray is not only the best record with the word Voodoo in its title, but one of the best records ever made. No arguing. Fact. The Acid Brass version is wonderful too but Gerald’s was proof that British house music was going somewhere else entirely. For an updated version see Optimo’s remix (done with Jeremy Deller).”

“It was supposed to be Voodoo Rage but there weren’t enough spaces in the digital name display so he changed it to Ray.”

Thanks Swiss!

Here’s babylotti again. He’s been thinking.

“Just yesterday I was listening to Philip Boa & The Voodoo Club, they once sang a song about Paul, who was in love with a container…..which is a line from another of their songs, so my next suggestion is Love on Sale by them…”

Now. “Container Love” by Philip Boa & The Voodoo Club is another record I adore, so I’m a bit annoyed you didn’t pick that one. In fact, I very nearly over-ruled you and played that instead. But then I realised we’re a bit light on cheese this week – we love the occasional cheesy record round these parts – and without Love on Sale then you wouldn’t have been able to provide this week’s Dairylea triangle:

“Which leads me to my awful song selection, from Love on Sale to ‘You Gotta Be A Hustler If You Wanna Get On’ by Sue Wilkinson.”

That made it to Number 25 in the UK charts back in 1980. It was her only hit. Maybe she’d have had more if her name hadn’t been so…well, drab. I mean, it’s not exactly the sort of name that conjures up visions of a pop star, is it? To me, Sue Wilkinson sounds like the woman from the office with a fixation on cats, who arranges the collections for people’s birthdays and tries to engage you in conversations about The Great British Bake Off when you’re trying to mind your own business by killing time at the photocopier.

Now, we can’t really do a post referencing records linked to Voodoo without mentioning The Robster’s next suggestion:

“Screamin’ Jay Hawkins looked like a witch doctor who practiced voodoo. He’s best known, of course, for his classic I Put A Spell On You, but in 1974, he released a single called Voodoo, which was backed by You Put The Spell On Me. So you can have any one of those three.”

Suddenly, this has become like a version of Michael Barrymore’s “Strike It Lucky”: I can have top, middle or bottom, you say? Middle! (See, I can resist making the obvious joke sometimes)

“Working on the basis of ‘first thought, best thought’, the song that immediately popped into my head to follow ‘Voodoo Chile (Slight Return)’ was ‘(The Ballad Of) The Voodoo Ranger’ by Multicoloured Shades.”

Chain Gang, count yourself very lucky, for that song made me think of one very cheesy one which, had I had the time, would have got posted right now. I’ll save it for another time…

Here’s Swiss Adam, back for a second, third and fourth bite at the cherry:

“Voodoo always makes me think of The Gun Club’s debut album Fire of Love (the cover art). Sex Beat is a peak on an album of peaky peaks. They were never that good again.”

I’m not sure we’ve ever had someone link via the medium of cover art before. I suppose, given the cover art I used for “Electric Ladyland” last week – which Hendrix himself disapproved of, by the way – I should be grateful. Anyway: a first!

Anyone who regularly visits his excellent Bagging Area blog will not be surprised by the manner in which Swiss continues: “…which gives me two Andrew Weatherall links- Two Lone Swordsmen did a spirited cover version of Sex Beat…”

I always thought that was about popular chicken-in-a-basket entertainer Gary Wilmot. Apparently not.

A couple of weeks ago, one of the songs posted here was Carly Simon’s “Nobody Does It Better”, and I happened to comment that it was my favourite Bond theme ever, although occasionally it might be the next record. Here’s Alyson from What’s It All About, Alfie?:

Time to welcome back (I think – you have posted here before, haven’t you…?) Brian from Linear Tracking Lives:

“Like The Robster, my first thought was Screamin’ Jay Hawkins. Then I recalled quite a few albums with voodoo in the name, such as the Dirty Dozen Band’s Voodoo and Paul Carrack’s Suburban Voodoo, but there isn’t that one song that hits on the theme. Then I smiled when I thought of Harvey Korman as Hedley Lamarr in ‘Blazing Saddles’ telling his band of bad guys “Now go do that voodoo that you do so well.” Yes, I’m that highbrow. Well, that’s liberally lifted from Cole Porter’s ‘You Do Something to Me’. Francis Albert sings that song with gusto, but it’s not my favourite. So, finally, my pick is a close cousin to voodoo…. Witchcraft, sung by Sinatra”

Here’s Alex G, fresh from expressing his disappointment at last week’s link, which given the amount of research he’s done into his own link is a bit rich:

“Talking Heads did a song called Papa Legba, which is named after some sort of spirit in Haitian Voodoo.”

(Papa Legba is the loa who serves as the intermediary between the loa and humanity. He stands at a spiritual crossroads and gives (or denies) permission to speak with the spirits of Guinee, and is believed to speak all human languages. Either that or an over-priced midfielder currently arousing the curiosity of Manchester United’s scouting team. You decide.)

Alyson’s back, to expand on her earlier “Live and Let Die” nomination:

“Thinking about it a bit more, the fictitious island where much of the Voodoo action in the film took place was called San Monique but of course it is highly likely that this fictitious island was supposed to be Haiti where, apparently, the majority of the population hold Voodoo beliefs. This of course got me thinking of the song ‘Haitian Divorce’ by Steely Dan.”

Time now for a big warm Chain Gang welcome to Kuttowski, who unless I’m very much mistaken, is Walter from the excellent A few good times in my life blog. Welcome aboard, Kuttowski/Walter, what have you got for us?

“I think it is time to join the chain gang. Thinking about the word voodoo Screaming Jay Hawkins and Voodoo Ray came to my mind. But it all said by the ones before. So I would suggest Voodoo by Mano Negra, a French band lead by Manu Chao back in the late 80’s. Starting with a dark mood this song turns into a weird folk chaos.”

And so to the last of the Voodoo related tracks, and a very heartfelt welcome back, albeit via the conduit that is SWC, to Badger:

“I spoke to Badger and his suggestion from the sofa is thus. Part of the voodoo ceremony is to slaughter a rooster. (He is basing this solely from the Mickey Rourke/Lisa Bonet film [Angel Heart, I believe – Film Ed] of a few years back.) But that takes us too ‘Mansize Rooster’ by Supergrass.”

Hallelujah, what a great, often overlooked tune. And I think I speak for everyone here when I say it’s great to hear Badger is on his way back to fighting fit.

Four songs to go, and here’s my last choice. This is, I believe, a cover of a Kiss record, performed here by The Lemonheads back in their early days before they had added the The to their name. I’m not going to explain the link: if you don’t get it, then just type the words “Jimi Hendrix” and “Plaster Caster” into Google. But don’t do it at work:

Earlier on, I mentioned that The Beard had suggested The Bluetones “Slight Return” as his final choice, and here come his first two choices, the reasoning behind which I love:

“From Jimi Hendrix to Hendrik Van Kleefe, the dodgy Dutch diamond dealer from To Hull And Back, the Only Fools and Horses Christmas special from 1985. Two of the world’s greatest cities, Hull and Amsterdam, are featured in the episode. 1985 also saw the release of Flag Day, the debut single by “the fourth best band in Hull” aka The Housemartins.”

So, let’s be having your suggestions for records which you can link to The House of the Rising Sun by The Animals, along with a description as to the link between the two records, via the Comments section down below.

Just to hammer home how awful that version is, I was going to post the video too. But I figured we’ve all been traumatised enough this week without being subjected to the spectacle of Ms. Bunton dancing around with just a shirt on for just shy of four minutes, a shirt which the cameraman seems determined to look down at every possible opportunity. (If YouTube breaks now, it’s all your fault, you dirty sods).

No normal post this week; I’ve been staring at the list of records I bought in 1984 trying to seek inspiration, but have not, as yet, been able to come up with anything of interest to say about any of them. Also, I didn’t have a drink last night. I’m sure these two things aren’t related.

So, it’s Sunday morning, and all is well with the world: the weather was glorious yesterday, the Football season has started here in the UK (with a loss for Spurs, but you can’t have everything), and England have just absolutely tonked the Aussies for the second match in succession to regain the Ashes – and if there is a better sight in sport than the look of shock and delight on Stuart Broad’s face when Ben Stokes takes that amazing catch then I’m yet to see it. I could watch that clip on a loop for a very long time before I started to get bored of it.

So anyway, I thought since the weather is threatening to be rather fine again today, I’d make this week’s Sunday Morning selection have a summery feel to them:

Betty Boo – Let Me Take You There To say Alison Clarkson (for it is she) has had a mixed career in pop music is an understatement: originally a member of hip-hop group She Rockers, she toured The States supporting Public Enemy, and had an all-too brief solo career under the alter-ego of Betty Boo, releasing the rather wonderful “Hey DJ (I Can’t Dance)” The Beatmasters, the second video for which launched her uber-foxy Betty Boop meets Barbarella image, followed by the killer tracks “Doin’ The Do” and best of all “Where Are You Baby?“, which if you don’t like, you are officially dead inside. Betty Boo’s short lived time on pop’s shelf of wanted goods ended as suddenly as it began around the time “Let Me Take You There” came out, when she was accused of miming at a gig in, if memory serves me right, Australia. Later cited as the influence behind the Spice Girls, she wrote “Pure and Simple”, which was recorded by Hear’Say, winners of the reality show Popstars, the fore-runner to the X-Factor, and the video for which appears to show the band lighting their own farts. She’s also written for Girls Aloud (“Love Bomb” apparently. Nope, me neither), Louise, Sophie Ellis-Bextor and…er…The Tweenies, as well as making the frankly rather odd “WigWam” with Blur’s Alex James, a song which has not improved with age. She’s also provided guest vocals on a record by The Feeling so…y’know…a career with as many highs as lows, I think it’s a fair to say.

In the mid-1980s, it seemed there were former members of The Eagles everywhere; Glenn Frey’s “The Heat Is On” was featured on the sound track to Beverley Hills Cop, Don Henley released this corker and…erm….does anyone even know who the other members of The Eagles were…?

A typically schmaltzy offering on which the Milky Bar Kid lookalike and country music’s most famous pilot (well, now ex-pilot, actually….) advises us that “Sunshine on my shoulders always gets me high”. On one of his more famous records, which bizarrely got embroiled in the whole Tipper Gore/Judas Priest/DMCA court case back in the 90s, he describes getting a “Rocky Mountain High“. One suspects Denver thinks “getting high” is the same as “being happy”. Either that or he had a phenomenal dealer.

I’m not going to talk too much about these late-80s/early-90s indie jingle-janglers and John Peels’ Festive 50 toppers (though not with this song) as they’ll feature later elsewhere on this blog. Calling a song Summertime leads to an almost inevitable comparison to the Gershwin-written Ella Fitzgerald classic (see?) and it would be wrong to do so (sorry!) for The Sundays’ Summertime is a) a completely different song, and b) simply wonderful in its own sweet way.